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What Neal Adams wanted to paint, “true” not the traditional weaved wastra. Also Neal did not intended to be an artist, whom also “freelance” in planning the textile design. If the order was as such, then there would have been long names of artists, who have done that. Even many among them, who has names which is pretty famous in the map of World’s fine art, from various era and style. Not to mntion : Picasso, Joan Miro, Salvador Dali, Marc Chagall, Fernand Leger, Sonia Delaunay, Henry Moore, Alexander Calder, and the king of pop art – Andy Warhol. Apart from doing paintings and statue carving, those artists also recorded as inventor of textile designs to be put into production process.

And Neal Adams? No. This London man who was born in 1968, did not wish to be like his seniors. He did not want to be freelance textile designer.

He have started to live in Bali since 30 years go (1998), from then up to now. Although he has the creative passion as artist, Neal Adams did not drown himself in Bali’s “exotic” like his seniors. Neal do not like to be in the same line as Le Mayeur, Theo Meier, Bonnet, Blanco, or even Arie Smit, as their paintings from the object side, only sell the exotic of Bali.

Two decade already, that Neal has been living in Bali. But he never has the interest for example to view paintings with object “kain gringsing dari Tenganan” – weaved exotic fabric although that is one of a kind

in the World, apart from Japan’s Kimono and India’s Patola.

Neal Adams also reluctant to continue to carry baton of Hendri Matisse (1869-1954). This important man from modern era, who has greatness in-line with Picasso is wastra collector ever since he was still a student and all his life. Matisse collect textile like toile de jouy from France, carpet from Persia, also wastra from Africa and the Middle East. Textile collection is the visual key for himself to come to an imagination space. A solo exhibition in 2001, “Matisse : The Fabric of Dream – His Art and Textiles”, that exhibited 60 of his works, clearly states that.

In Still Life with Blue Tablecloth (1909), for example, Matisse combined something from the nature with blue table cloth made from toile de jouy textile, which was luxurious. Although on the painting The Pink Studio or L'Atelier Rose (1911), Matisse exhibited his exotic wastra from his list of collection, which was used as background when he do some painting, with Persia carpet that he loves, existed on his studio floor. And there are a lot more Matisse own collection, which appears on his paintings during the time Matisse was alive, until in the last years before he passed away.

But the wastra is still some kind of clothing, veil, table cloth, car seat upholstery, separator, wall cover, curtain, or carpet One of the specialty of Matisse and one of his aspect of renewal is the “colourist genious” himself : “According to me, subject or background has one same scoring.” Matisse subject and background of the wastra are both dominant. Natural item and table cloth : still alive and textile; human figure and master, both exist with same power, appear and equally dominant among the artworks.

Referring to the above, Neil Adams still does not have the intention to follow Matisse’s path. Neal will not paint wastra, as he does not want to draw on fabric. Even designing hope. But that is not the purpose.

Neal require some stimulus, from Palembang vintage songket, which uses gold thread as symbol of “spiritual energy”, as source of inspiration to those making artworks. Traditional songket needed “spirit” according to what he have learnt from Wastra Collector – Quoriena Ginting, which recently was preparing an exhibition in London.

Neal Adams does note “physically draw” motives from gold thread which had to be sewed to the weave machine / equipment. Wastra with full of gold, stimulus visual willingness to do more paintings towards “abstract”. Just like Neal own opinion, gold in a traditional Nusantara songket, also reveal that “Gold is

God’s colour”. Neal feels comfortable, there. Not on the “gold” inside Gustave Klimt artworks (Autria’s artist whom has gone internationally as a character at Art Nuveau), that seems to be materialistic. From here, new artworks which are more towards abstract, born.

Different case with “songket” that mostly is abstract, Neal Adam’s teak tree is closer to “realistic”. But not like previous works, here Neal Adams no longer draw a tree character. Which identified as tree coming from who knows where.

Neal Adams trees this time are teak tress. This tree have grown all over Indonesia, in Java, then developed in Sumatera (Kalimantan, Sulawesi, and Papua). It now has spread to Bali, Lombok, Sumba, Sumbawa, also Flores. Because of that, Indonesia has become one of the biggest teak producer in the World, after Burma.

Not only teak tree of course. It is because that Neal believe that known adage from Pluto : ars imitatur naturam". What seems to be the problem for Neal now is, how to interpret the word “imitatur”. Character Duplication or Spiritual Duplication, Physic Duplication or Soul Duplication. Duplication based on Eyes of the Brain or Eyes of the Mind. Duplication based on bare eyes consideration only, Brain Duplication, or Duplication”with eyes of the mind and eyes of the heart”.

According to Neal Adams, he is one of the strongest tree in the World, Tectona Grandis where its unyield-ing living in the dry land. it is able to put his happiness behind : for example with free heart it falls their leaves in order to survive to live and turn as “gold tree. The goldness not coming from the flowers, leave, or even the fruits, but from the woods. Able to survive, stand strong tirelessly for many years, teak will continue to grow on dry land. Teak stand straight, big, and tall reaching the sky, straight and do not make branches. It characteristic, give symbolic values that Neal will elaborate on his works on the teak series, coated this time with gold.

Teak tree Neal is not cypress, a tree which symbolizes death and the under World, where on Van Gogh’s hands appeared long skinny and sharpen in the end, showing the silence comes and when n longer surviv-ing to reach something unreachable. Neal teak tree is not pollard Van Gogh dry heads with withered branches, screaming “one hundred years of solitude". Neal’s teak tree also is not poplars tree, where Van Gogh visualizing silent roads with inner self towards life’s “zero point”

Neal’s teak tree does not have a name, but they came from deep forest of Yorkshire, and in the first decade around the year of 2000, manipulating the picture size “giant” by te old David Hockney. Neal’s tree also not the colourful syrup tree that was great and being stated in the fine art history book World-wide, with the other artworks as followings : A Bigger Splash (1967) dan Mr and Mrs Clark and Percy (1967).

Teak tree belongs to Neal Adams are trees which grow with its body, soul, spirit, characteristic, and identi-ty, known as “gold trees”. Royal trees

Neal Adams’ gold have move forward to the creative path, towards abstract paintings that was inspired by songket from Palembang, and to various symbolic sides of teak tree which are painted realistically. The creativity path is contemporary – do not stick to only a style or theme. Dan free creativity in movement across tradition, modernism. Because we are able to appreciate

Eddy Soetriyono, curator also fine arts writer and designer, scarf and jewelry designer, poet; residing in Jakarta

Neal Adams






















Published as a supplement ofPainting Art Exhibition“UNLIMITed”By Neal Adams

At VIP Fine ArtsJalan Karang Tengah Raya no 7Lebak Bulus Jakarta SelatanTelp : 021 227 65481Email : [email protected]

7th April 2018 - 28th April 2018

Curated and Written by Eddy SoetriyonoWritten by Arif Bagus PrasetyoEnglish by Harny Suryandari

Organized by VIP Fine Art and IndonesianPainter.comAll works of art by artist, used by permission

Photograph artworks by The Artist their self Design and Catalog Concept by Aneka Design and IndonesiaPainter.com

Printed in IndonesiaPrinted by Aneka DesignPublish by IndonesianPainter and VIP Fine ArtsCopyright © 2017 Indonesianpainter.com

All right reserved. No part of this publication may be reproduced, store in retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without permission of the producer.






















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Content

Past Artwork

CuratorABSTRACT IN FACESABSTRACT IN REALISM - FANTASYABSTRACT IN SURREALISM

FOREIGN ARTISTS IN BALI, NOW

Artwork

Biography

Acknowledgement

CONTENT

PAST Artwork

Bamboo 29 | 150x150 cmMixed Media On Canvas | 2016

Bamboo 30 | 200x120 cmMixed Media On Canvas | 2017






















By Eddy Soetriyono

From Songket PalembangUp to the Deep Forest of Teak

CURATORIAL ESSAY SOLO EXHIBITIONNeal AdamsAT VIP GALLERY JAKARTA












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By Arif Bagus Prasetyo

FOREIGN ARTISTS IN BALI, NOW

During the invasion time of The Dutch, most likely during the 19th – 20th century, Western exotic – romantic vision about Dutch Indies (now known as Indonesia) once spread an art pattern on paintings, which later known as Mooi Indie (Hindia Molek). The European artists whom present artworks in the era of the Dutch Indies at that time with most local artists (indigenous) whom have copied them, loves to nicely paint the Dutch Indies – view of the beautiful nature, exotic animals, and friendly pele. The art pattern, expose the heavenly of The Dutch Indies.

In the 1930s, the art pattern on paintings of Mooi Indie has become under fire by S. Sudjojono, an artist – local modern intellectual whom later known as ―Father of Modern Fine Arts of Indonesia‖. According to Sudjojono, the description of The Dutch Indies or Indonesia in Mooi Indie paintings, is illusive, and does not represent the true Indonesia, as in reality they do not root up among Indonesia’s community. Bitter facts about the colonised country, has always been presented through paintings, as if ―all are nice and romantic like in heaven, all are comfortable, silent, and peaceful.‖ Description of Mooi Indie is only considered as image of The Dutch Indies, in the eyes of foreign artists.

Sudjojono stated his censure towards Mooi Indie, which referred to the situation in Java around the 1930s decade, where dominant artists were European (those who have only been living here for two or 3 years, as tourists.‖ This kind of situation, certainly have changed drastically. In this 21st century, Euro-pean artists living in Java now, is pretty rare.

Situation in Bali, is also different. Bali is like a giant magnet which has been pretty attractive for some-times to many foreign artists. They stay in the island of Gods to find creative inspiration and work. Bali

is not only ―heaven of tourism‖ which is known worldwide, but also ―heaven of artistic‖ for the foreign artists.

From the colonial era up to now, there are so many foreign artists in Bali, where they have selectedd Bali as their creative base, temporarily or even permanently. It is uncountable how many foreign artists who have been selected Bali as their important source of their carrier path in art; from the generation of Walter Spies, Rudolf Bonnet, Le Mayeur, Antonio Blanco, and Arie Smit in the past, up to the current generation of Ashley Bickerton, Wolfgang Widmoser and Neal Adams – when recalling few prominent names. They have selected Bali as their ―home‖, and they came from Europe, also America, Australia, Japan, and other countries as well.

In regards to Bali, there are two creative paths which needed to be taken by foreign artists who have been living and working in Bali, in this current era. The first path contiguity of foreign artists in Bali tends to be shimmered with Bali image of romantic an exotic. They have commonly elaborated Bali as source of the rich and unique visual reference. As they have often recorded their experience, when mingling with Balinese nature, culture, artistic people or community. Many of them paint panoramic nature of Bali beautifully and mystically, also the uniqueness of the people and traditional culture.

In the second path, foreign artists have digested Bali well as inspirational space which pushed them to make some creative exploration much further, to new spaces which get them to go beyond their goals. They previously came to Bali because they were attracted with the nature and World’s legendary and known traditional Balinese culture. Those points however did not make them stunned with Bali themes only. They breath creative fresh air of Bali and that gained inspirations to create artworks which they could not have done it, if they were not in the touch with this island of Gods.

Neal Adams is one of foreign contemporary artist, who took the second path. He has been living on this Island of Gods for sometimes already, and in the past have presented artworks which went beyond exot-ic-romantic photo, of Bali. These European artist, work in Bali but do not have interest in exploring and exposing the image of Mooi Bali, image about Bali molek is as if heaven which is untouchable with move-ment and time.

Neal Adams for the first time arrived in Ubud, in 1998. Just like many foreign artists, this London artist born in 1968, fell in love with Bali. Especially Ubud. Village which popularly known as the centre of art.

In his eyes and heart, Bali is a special place. Very conducive and inspiring to paint. He later decided to reside in Bali since 2003.

Bali has given big creative energy to neal, to focus on his carrier as artist. On this island he reaches matu-rity in art. His touch with Bali made it possible to expand his characteristic way of painting, that later blasted his name as artist. ―Living in Bali, I developed a strong work ethic by painting every day. I discov-ered a practice to refine my technique and at the same time carved out a voice in my work — a personal style which was very much my own, Said Neal at JakartaGlobe.

In Bali, Neal developed unique technique of collaborating acrylic with perada (gold and silver leaf). This technique is used to risen depth effect, and makes paintings, shines. It later turned, that the effect was contributed by the presence of emotion and quality of ethereal and atmospheric which goes through image on canvas – at the time the peaceful and sacred ambience, are Neal’s ―signature‖. According to Neal’s statement on FRV Bali, his unique painting technique awe big to Bali’s nature.

He said, ―I would possibly have never discovered this technique if I’d stayed in England. Motivated by the natural light in Bali, it just developed on its own in a very natural process, Even Bali holds the central position of Neal’s creative World, he is note interested to represent Bali in his work. Most specifically bamboo and teak trees, are the important subjects of Neal’s paintings, as bamboo and teak grow in many parts of Indonesia, including Bali. And that obviously means that, no trees that function as symbol of Bali, is involved. Lately, Neal have also explores on woven fabric of the Archipelago as source of his creative inspiration, of his great works.

UNLIMITED exhibition will show how Bali in 21st century is still the place which captivated and inspired foreign artists, to be creative. They do not only continue the history of traditions which were inherited to those before us from the past, but they also contribute with flow of developed fresh creativities. This exhibition provide a glance of how Bali in this era, is still being appreciated of those great foreign artists. The touch of the foreign artists with Bali in-fact, provide us with other flow of developed fresh creativi-ties, which is interesting. Outside the old mainstream stereotype, which goes about elaborating popular image of Bali.
















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Tenun 13 | 150x150 cm | Mixed Media on canvas | 2017

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Tenun 14 | 180x120 cm | Mixed Media On Canvas | 2017

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Jati 03 | 180x150 cm | Mixed Media On Canvas | 2017

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Golden Tree 25 | 150x150 cm | Mixed Media On Canvas | 2017

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Frangipani | 114x188 cm | Mixed Media On Canvas | 2017

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NEAL ADAMS

BIOGRAPHY

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1968 born London England

1984-1989 private tuition under professor James Turner (Wimbledon school of art) studies in drawing and Traditional painting techniques

1989 Studies art history and painting National gallery London

1995 Submission Royal institute of oil painters mall galleries London

2003 Moved to Bali Indonesia

Exhibitions1995 Open art Park Lane (London)

1997 Forrest Gallery Surrey (England)

1999 Green Park West end (London)

2002 Honey wood lodge Surrey (England)

2007 Elcanna Gallery Jakarta (Indonesia)

2008 Nicholas Parks Gallery cork street (London)

2009 Jl Galleries California (America)

2009 Oracle Gallery Bali (Indonesia)

2010 Harpers Bazzar Jakarta (Indonesia)

2010 Orgone Gallery Bali (Indonesia)

2012 Cafe Des Artist Bali (Indonesia)

2012 Art Projects Gallery (Hong Kong)

2013 World Of Art Show Case (Las Vegas)

2015 South Yarra Gallery ( Australia)

Mrs Quoriena Ginting

Mr Neal Adams

Mrs Made Yastini

Mrs Veronica Larasati

Mr Iwan Prayitno

Mr Haerul Bengardi

Mr Guntur Santoso

Mr Nicolaus F Kuswanto

Mr Eddy Soetriyono

Mr Arif Bagus Prasetyo

Mrs Harny Suryandari

VIPfinearts Team

Zen Nagrisco Utama Team

IndonesianPainter.Com Team

Paperina

Asialova

Aneka Design

Acknowledgements

Jati 01 - Page31Jati 02 - Page30Frangipani - Page29Golden Tree 25 - Page28

Jati 03 - Page27Jati 02 - Page26Tenun 21 - Page25Tenun 18 - Page24

Tenun 15 - Page23Tenun 20 - Page22Tenun 10 - Page21Tenun 08 - Page20

Tenun 07 - Page19Tenun 05 - Page18Tenun 14 - Page17Tenun 13 - Page16

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